Louvre's Treasures To Haussmann's Boulevards and Chinese Art at Met

Brush and Ink: The Chinese Art of Writing: Through January 21, 2007

In China, calligraphy, "the art of writing," is regarded as the quintessential visual art, ranking above painting as the most important vehicle for individual expression. As such, calligraphy may be appreciated in much the same way as some abstract art-by following the artist's every gesture, reexperiencing the kinesthetic action of creation as preserved in the inked lines.

This installation traces the 1,600-year history of brush writing from its genesis as a fine art in the 4th century A.D., through successive peaks of individual innovation, to its recent transformation from a universal mark of scholarly status into a form of abstract art. It features more than 70 works, with examples from the permanent collection importantly augmented by select works from private collections.

Americans in Paris, 1860-1900: Through January 28, 2007

Filled with the best of the old and the new-from the Louvre's treasures to Haussmann's boulevards-late-19th-century Paris attracted hundreds of American art students and artists, including Whistler, Eakins, Cassatt, and Sargent. So powerful was the lure of Paris that writer Henry James could observe in 1887: "When to-day we look for 'American art' we find it mainly in Paris.

When we find it out of Paris, we at least find a great deal of Paris in it." This major loan exhibition highlights the themes "Picturing Paris"; "At Home in Paris"; "Paris as Proving Ground," which includes canvases shown in the Salons and other expositions; "Summers in the Country," when many Americans worked as Impressionists; and "Back in the United States," which suggests some of the lessons they brought home.

The exhibition is made possible by Bank of America. Additional support is provided by the Marguerite and Frank A. Cosgrove Jr. Fund. The exhibition was organized by the National Gallery, London, and the Museum of Fine Arts, Boston, in association with The Metropolitan Museum of Art, New York. It is supported by an indemnity from the Federal Council on the Arts and the Humanities. Accompanied by a catalogue. -- www.metmuseum.org

Teaser

Brush and Ink: The Chinese Art of Writing: Through January 21, 2007

In China, calligraphy, "the art of writing," is regarded as the quintessential visual art, ranking above painting as the most important vehicle for individual expression. As such, calligraphy may be appreciated in much the same way as some abstract art-by following the artist's every gesture, reexperiencing the kinesthetic action of creation as preserved in the inked lines.

Body Text

This installation traces the 1,600-year history of brush writing from its genesis as a fine art in the 4th century A.D., through successive peaks of individual innovation, to its recent transformation from a universal mark of scholarly status into a form of abstract art. It features more than 70 works, with examples from the permanent collection importantly augmented by select works from private collections.

Americans in Paris, 1860-1900: Through January 28, 2007

Filled with the best of the old and the new-from the Louvre's treasures to Haussmann's boulevards-late-19th-century Paris attracted hundreds of American art students and artists, including Whistler, Eakins, Cassatt, and Sargent. So powerful was the lure of Paris that writer Henry James could observe in 1887: "When to-day we look for 'American art' we find it mainly in Paris.

When we find it out of Paris, we at least find a great deal of Paris in it." This major loan exhibition highlights the themes "Picturing Paris"; "At Home in Paris"; "Paris as Proving Ground," which includes canvases shown in the Salons and other expositions; "Summers in the Country," when many Americans worked as Impressionists; and "Back in the United States," which suggests some of the lessons they brought home.

The exhibition is made possible by Bank of America. Additional support is provided by the Marguerite and Frank A. Cosgrove Jr. Fund. The exhibition was organized by the National Gallery, London, and the Museum of Fine Arts, Boston, in association with The Metropolitan Museum of Art, New York. It is supported by an indemnity from the Federal Council on the Arts and the Humanities. Accompanied by a catalogue. -- www.metmuseum.org